11 What do designers do? Design covers many elements, including: These all contribute to the play’s narrative and atmosphere. A designer makes decisions based on the period and genre, style, staging con guration and the concept and intentions for the play. They may also need to re ect on the practical limitations of their budget and what can realistically be achieved. Together with the director and other designers, they will consider whether the design is to be, for example, naturalistic, with an abundance of realistic detail; stylised, with heightened or unrealistic features; minimalist, with only a few key features; or a combination of some of these. They will be aware of the importance of the scale, colour and texture of a set. When designing a period play, they will probably research authentic details to include or, on the other hand, they may update or transpose their design to another period or location. How to explore a play for A Level Drama and Theatre Theatre maker insight Caitlin Smith Rapoport, lighting designer ‘For me, lighting design begins with dramaturgy; researching the play, and the time and place in which it is set. I’m looking for clues in the script about where we are in time and space, if it’s day or night, are there lighting elements that I know we will need – like a lit re, a lamp or a ashlight. I’m also reading for how the world of the play feels, what is going on, whose perspective the story is told from, and what each scene is about at its core. My rst priority is always to serve the story. Lighting design is a mode of storytelling through composition. It is architectural, musical, pictorial, and emotional. Light can tell you time of day, where you are, how hot or cold it is. Light can direct your eye to what is important in a moment, change the mood, create ease or tension.’ Theatre maker insight Rosanna Vize, theatre designer ‘I think the director–designer relationship is key to any production, but especially so when reviving classics. It is our job to nd new relevance in a well-trodden text; to make it sing to a modern audience. As a designer I like to search for the emotional core of a text and explore ways that we can help draw out these ideas, visually, physically. With the director, I am designing the event of the production.’ PROPS MAKE-UP SETS SOUND COSTUMES LIGHTING Exploring ideas A designer will carefully read a script, determining its practical demands, such as the action, characters and time period. Costume and set designers might make mood boards to collect and develop their ideas, and create early sketches to present to the director. They might begin sourcing fabrics and furniture. Sound designers will discover sound effects that are demanded by the script, including motivated sounds, like doorbells or pistol shots, but will also think about environmental sounds, which establish the location, or musical underscores or abstract sounds. Lighting designers will explore how lighting might enhance the location of the play and the appearance of the characters, create atmosphere and highlight key moments. Key terms Dramaturgy: The study of a play in order to reveal its context, characters and themes, as well as looking at its dramatic construction and stagecraft. Mood board: A collection of images and materials to inspire and develop ideas. Motivated sound: A sound effect required by the script. Environmental sound: A sound that establishes a location, such as bird song or traf c. Underscore: Music played under a scene. Copyright: Sample material
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